Mayowa Nwadike is spotlighted in the New Voices series, which highlights emerging artists who showcase their art on ArtConnect.

Softness and empathy become acts of defiance in the paintings of Nigerian-born artist Mayowa Nwadike. With juxtaposing blends of charcoal and acrylic, his work depicts sensitive yet strong figures that challenge toxic masculinity while celebrating their African identity and culture.

Nwadike’s mixed-media paintings are personal reflections on the intersection between African cultures and gender roles. A storyteller at heart, Nwadike incorporates African symbols and tales into his work that root his subjects in both place and spirituality. These stories help to characterize Nwadike’s subjects as figures who are ultimately seeking a sense of belonging both culturally and in terms of their gender identity. In his work, Nwadike makes the conscious decision not to depict the idealized, dominant image of masculinity, which he believes to be not only overrepresented, but also dangerous. Instead, his work searches beyond this pervasive masculine image, depicting figures that are almost somber in their deep sensitivity, yet incredibly vivacious. One way that Nwadike underlines subversive forms of masculinity is by detailing gesture, gaze and expression, revealing his perceptiveness to body language and the realm of the unspoken. The viewer may see in the soft eyes, pensive expressions and carefully placed hands and feet of the figures in Nwadike’s work a desire to live both honestly and expressively. The vivid paintings of Mayowa Nwadike ultimately demonstrate how art can be a tool for social transformation, by acting as a realm in which the artist reflects on gender, culture and identity.

To give our readers a chance to get to know this emerging talent, Mayowa was invited to be interviewed on ArtConnect Magazine.

Could you please introduce yourself?

I am Mayowa Nwadike, a Nigerian born artist currently living in the United States. I am a mixed media painter and a multi-disciplinary artist. I utilize acrylic paint and charcoal, superimposing one over the other to create realistic paintings on canvas. My paintings are based on stories that are descriptive with a heavy dose of symbolism. These stories are carefully placed in a way that do not distract the viewer from the piece which is in front of them and allows for personal interpretations at the same time.

You’re a self taught artist. What has the process of becoming an artist been like for you?

I started painting professionally in April 2018. Before that, I have always had a keen interest in art but was never given the freedom to pursue it. It was hard to convince my parents of my interest as they felt that art was a waste of time. When I was admitted to university to study Soil Sciences back in Nigeria in January 2018, I had my own apartment and could dictate how I used my spare time. So, I decided to convert a section of my small studio apartment into an actual art studio. To do so I needed to take on odd jobs outside school to fund my passion for art. This left me sleeping only 3-4 hours most days of the week through the semester to balance both schooling and art and try my utmost to excel in both fields. The journey to get where I am today has not been easy, but I wouldn’t trade it for the world.

“African stories and symbols are so vast that we can only scratch the surface. By looking for a connection between old African symbols and modern society, I try to bridge the gaps and disconnects that exist within modern African society with the old world.”

You blend charcoal and acrylic when creating your mixed media paintings. Why are you drawn to these two materials? What qualities do they bring to your work?

For the longest time, I was first drawn to using pencils as it was easier to work with and control them, but my search and hunger for depth made me discover charcoal. At some point in 2021, I had the desire to try something new, so for 4-6 months I experimented in abstract painting with acrylic. I always love to try something new; in the past, I have tried pastels, inks, watercolors, and oil paints but they did not really resonate with me. However, after my six-month experiment with acrylic, I felt a connection with the medium but was also missing my first found love which was charcoal. I decided towards the end of 2021 to look for a way to bring these two distinct mediums together, doing so carefully as one can easily overshadow the other. I finally had a breakthrough in February of 2022 and since then I have continued to produce the sizable works you now see today. I just love the darkness of charcoal and the brilliance of acrylic and I feel that reflects how the world is today.

Who are the figures in your paintings? How do you decide on a subject?

I see myself as more of a storyteller. The topics I choose to talk about come from personal and non-personal experiences I have come across through my existence as a being amongst other beings. I pay attention to what people say but even more keen attention to what people do not say with their lips, but rather with their eyes and body language. The words left unsaid are the most important and that can be seen from how I express my subjects on canvas. Through their eyes, you can almost feel what my subjects felt and what I, the painter, felt throughout the creation phase of the painting. Before I choose the figures or models to work with, I first draft these stories. Then I go into a hunting phase to look for people who embody and value the story as much as I do before deciding to depict them on canvas.

You mention African stories and symbolism in your artist statement. What role does your culture play in your work?

African stories and symbols are so vast that we can only scratch the surface. By looking for a connection between old African symbols and modern society, I try to bridge the gaps and disconnects that exist within modern African society with the old world. I try to identify how these symbols apply to the smallest unit of every society, which is the individual, and see how that affects the larger group of the society. For example, socialized gendered notions of male power and control in which violence is used to affirm masculinity are dominant in many African cultures. In such a system, women are taught to submit to victimization and men are taught to be dominant and abusive. By featuring spiritually charged symbols in my work and juxtaposing them with a soft, almost fragile outlook of the figure embodying them, I am saying that there’s beauty in embracing one’s femininity - a beauty which also shows strength and power. I am also saying that being feminine should not be seen as a weakness but should be seen as being more grounded in one’s inner being and the energy the universe radiates.

In paintings of yours such as in the Saraounia series and the Chàlé series, the figures depicted are intriguingly both soft and powerful. What would you like to convey by depicting your subjects in this light?

Both series further highlight my stance against toxic masculinity. In the Chàlé series, I convey the story of the reintegration of two African boys as immigrants in a new society. By following through the series, you will quickly notice the different stages of this reintegration, with one happening before the other. The older brother is forced to have a tough outlook on life, which is embraced openly by his younger brother. Due to the preconceived notion about what ideal men in society should be, these skewed traits are passed down from generation to generation as a means of survival and a defense mechanism. The second piece is captioned, "A child is what you put into him," representing the vulnerability of children and their dependence on the adults in their lives. The fourth painting of the series, Chàlé IV evokes the camaraderie and security of brotherhood. In this piece, I wanted to depict the essence of simultaneous protectiveness, empathy, and candid youthful honesty; despite its young subjects’ endeavor to emote stoicism, there lie glimpses of reactiveness and responsiveness. The respective postures of the two subjects, highlight their discrepancies in age, and maturity. The younger brother physically displays a sense of timidity, and childish nervousness, while also showing the semi-false bravado of a young child attempting to portray self-confidence and security. This is in direct contrast to the older brother, who physically faces the viewer with a protective arm around his younger brother as if to say, “It’s okay, don’t let the world change your outlook on life and if you need a shoulder to cry on, you can count on mine.” The emotion depicted by the piece reflects universal human experience but is also specific to the dependability of fellowship. Its essence is that of the unpredictability of the unknown and the knowledge that security exists if one knows where to search for it.

Do you think painting has the power to shift societal narratives? Which societal narratives do your paintings approach?

Yes, I strongly believe so. The human mind is shaped by what it sees constantly and by challenging stereotypes, I aim to portray an alternate perspective that promotes empathy. If more artists chose to identify their role and the power their works have in shaping societal narratives and bringing attention to important issues, viewers would become more encouraged to reflect and be inspired to change. For example, the Saraounia series pushes back against oppressive gender roles. In many African settings, women are not allowed to be expressive and should only speak when spoken to. This inevitably reduces their autonomy and diminishes the importance of their opinions. The series depicts a peculiar duality - one showing the current societal state and the other showing the beauty and graciousness therein when more women are given the freedom to express themselves freely. In the last piece of the series, Born & Reborn, I bring the viewer back to the harsh reality where a man depends solely on the strength, royalty, and graciousness of a woman. His shortcomings are masked by the woman who covers his “nakedness” and builds his image. The society, however, focuses on the man and discredits the role of the woman in his attaining of power. It also shows how toxic masculinity creates a mask that hinders men from truly expressing their inner beauty, leaving many sad and miserable.

Your work is deeply informed by your own cultural background having grown up in Nigeria, yet toxic masculinity is unfortunately very widespread internationally. What impact would you like your work to have on "outside" viewers? How can your work help others to reflect on their own experiences and cultural background?

My work is indeed deeply informed by my cultural background. Having grown up in Nigeria, I have had to navigate and confront issues of toxic masculinity within my own community and the wider African society. My experiences have shaped my artistic practice, and I use my work to address these issues and offer new perspectives. But these experiences are not unique to a particular country. From my interactions with people from different cultural backgrounds, I have observed toxic masculinity to be a universal problem which is evident in the way women are treated. The degree of the harm may be different but the issue at the core persists.

I would like my work to have a positive impact on viewers outside my cultural background. I believe that art has the power to transcend cultural boundaries and can serve as a tool for reflection and critical engagement. By exploring themes related to gender roles, power dynamics, and cultural expectations, I hope to encourage viewers to question their assumptions and beliefs on gender roles and masculinity. I believe that art can be a powerful tool for sparking conversations and I strive to create work that invites viewers to reflect on their own experiences and cultural background.

Ultimately, my goal is to use my art to challenge and transform harmful cultural attitudes towards gender and masculinity. I hope to inspire viewers to engage in critical reflection and to work towards creating a more just and equitable society for all.

Is there a work of yours that is particularly significant to you and why?

I try not to have what I call a “post-creation emotional connection” with my paintings; I see all my paintings as my babies and try my best to love them equally but my most recent painting, the last piece of the Chàlé series has to be one of my most challenging yet fulfilling paintings. The painting required a level of technique that I had not experienced before, and the symbolism of the painting brought back a huge rush of memories from my childhood and growing up in Nigeria. I tried my best to replicate the shoes I wore to school; I did not like those shoes, but they were one of the best quality shoes available at the time. The “Ghana must go” bag depicted in the painting was done with several layers of paint with the result showing a once white bag gradually turning brown thus depicting aging. While the painting re-emphasizes migration, it is also about my journey through life and my appreciation of those experiences that have brought me this far, and how these experiences have affected my art practice.

“If more artists chose to identify their role and the power their works have in shaping societal narratives and bringing attention to important issues, viewers would become more encouraged to reflect and be inspired to change.”

You recently relocated to the US. Has this move had a big impact on your work?

It has in a profound sense affected my practice. Moving to the United States has given me more creative freedom and easier access to materials and resources which I have employed in creating art. I have also been able to see things from two cultural settings, thus giving me a broader view of the topics I choose to talk about.

What's next for you? What do you hope for the future of your work?

I hope to continue to explore different areas of my creativity, refine my practice over time, and do my utmost to represent African culture and tell African stories in the best way possible to evoke change in the minds of my audiences. I also hope to lend my voice through art to fight for other courses of social justice.

See more of Mayowa’s work

Website | Instagram | ArtConnect

Interview by Ollie Dougherty

New Voices highlights emerging artists who showcase their unique perspectives and innovative techniques on ArtConnect. Applications are accepted on a rolling basis. If you would like to be featured in a personal interview on ArtConnect Magazine, read through the open call and apply here.